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The  Boy  Scout  Song  Leader^s 
Manual 
John  Eenry   L  yons 


lifornia 
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Southern  Branch 
of  the 

University  of  California 


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Los  Angeles 


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LfBRAftr 
<U>S  ANGELES,  CALJF. 


NCH, 


The  Boy  Scout 
Song  Leader's  Manual 

by 


JOHN  HENRY  LYONS 
COMMUNITY    oONG   LEADER 


Sfti 


Director,  Department  of  Music 

Public  Schools 
TACOMA,  WASHINGTON 


r:  Of;7  1 


3S  13 

PREFACE 


This  manual   haa   been  prepared  to   acconi- 
pany  the  BOY   SCOUT  SOx\'G  BOOK.      Ail   directions 
contained  herein  have  been  made  ac   ;jimple  as 
possible,    in  order  to   appeal   to  the  boys  them- 
selves . 

No   attempt   at   syraphonic  or   choral    con- 
ducting nas   been  made.      Just    enough  of  the 
technique  of  directing  hac   been  suggested  to 
make  it   possible    for  anyone,    possessed  'Tith 
qualities   of  leadership,    to   lead  in  the  sing- 
ing of  the  songs    found  in  the  lOY   SCOUT   SONG- 
LOOK. 

"In  offering  this   ne--.?  book  to   the    field, 
the  National   Council   believes   it   is  r.iaking  a 
vital   and   constructive   contribution  to  the 
cause  of  Scouting.      Group  singing  is   a  potent 
force   for   good-fellov/'ship,    happiness   and  high 
fiiorale.      The  singing  hour  may   co  more  than  any 
other   feature  to   bind  scouts  together  and 
deepen  their  sense  of  loyalty  to   scout   ideals." 
(From  Introduction  to   BOY   SCOUT  SONG  i-OOh.  ) 

The  aim.  of  the  author  has  been  to  aid 
scout   leaders,    and   help  in  the  spread  of 
the  gospel  of  group  singing. 


COMMUNITY  MUSIC 


The  value  of   coiranunity  music  is  too 
apparent  and  well   known  to   enter  into   any 
discussion  in  these  pages.      Corariunity   Serv- 
ice,   Inc.,    in  its   excellent  bulletin  has 
summed  up  this   subject   in  the   following: 

"Community  music   is   a   form  of  self- 
expression;   is   a  medium   for   giving  pleas- 
ure;   is   an  "ice-breaker";    is   an  opportunity 
for  physical  relaxation;    is   a  medium   for 
giving  enjoyable  mental  reactions;    is   a 
form  of  melodic   cheering;    is   a  good-fellow- 
ship medium;    is   a  social  welder;    is  an  Am- 
ericanizer;    and   is   an  emotional   stimulant." 

In  his    "Essentials   in  Conducting", 
Karl   Geiirkens   says:      "One  of  the   fundamen- 
tal reasons    for  group  singing,    is   its   ben- 
eficial  effect   upon  the  attitude  of  the 
people  tov/ards  one  another  and  toward  their 
social   group  or  their   country.      Through 
singing  together   in  this   informal  way,    each 
individual  in  the  crowd  is  apt  to   be  drawn 
closer  to  the  others;    to    feel  more  interes- 
ted in  his   neighbors;    and   in  the  case  of 
"sings"   where  the  dominant   note  is   patriot- 
ism,  to   become  imbued  with  a  deeper  spirit 
of  loyalty  to   country. 

In  very  many   cases   individuals  who 
formerly  would  have  nothing  to  do  v/ith  one 
another  have  been  drawn  together,    and   have 
become  really    friendly,    as  the  result   of 
sitting  together  and  singing  together  at  a 
community   "sing". 

"The  impulse  to   bring  music  into  the 
lives   of  all   the  people  is   not  a   fad,    but 
-  2    - 


is   the  result   of  the  working  out  of  a 
'deep-seated  and  tremendously  significant 
innate  tendency   -  the  instinct    for  self- 
expression;    the  same   instinct   which  in 
another    form  is  making  us   all    feel   that 
democracy   is   the  only  sure  road  to   ulti- 
mate satisfaction  and   happiness." 

Community  singing  is  the   first    form 
of  comijiunity  niusic,    and   from  this   endeav- 
or it   is   possible  to   branch  out   into  the 
higher    forms   o  f  the  art .      The   "Sing"  may 
"be  the  medium   for   the  development   of  mus- 
ical  appreciation,    and   expression  of  cul- 
ture through  the  community  chorus;    commun- 
ity orchestra;    community   band;    community 
pageant;    and   comiriunity  opera. 

The  community   "Sing",   the  song  lead- 
er,   his  requirements,    his  training  and 
technique,   will   be  the  subject   of  this 
manual. 

NEED     OF     A     LEADER 


The  necessity    for  a  leader  is   not 
merely  the  waving  of  arms   and   directing. 
Upon  his   shoulders    falls  the  selecting  of 
the  songs;    determining  of  the  pitch;    ind- 
icating the  rhythm  and  tempo,    securing 
united  attack  and    finisn;    creating  an 
atmosphere;    and   a  unanimous   spirit. 

The  need  of  a  leader    for  a  sing  is 
therefore  obvious.      No  matter  what   kind 
of   a  gathering,    or  where  assembled   -  in 
church,    school,    lodge,    club,    or  whether 
it  be   just   a  group  around  the  piano,    some 
one  must   take  the  initiative.      There  must 
be  a  leader  who   will   break  up  the   formal- 
ity and  stiffness  of  the  gatnoring.      If 
-   3   - 


results   are  to   be  oecured,   the   crowd  must 
te  led  to    forget   thecoelvea   and  their  at- 
titude toward  their  neighbors   and  toward 
singing. 

It  r.iust   be  remembered  that  most   people 
oeldom  have  an  opportunity  to   sing,    except 
when  they  attend   church.      Judging  by  the 
average  congregational   singing,    v/e  wonder 
how  many  sing  when  they  do   go  to   church. 
A  leader  of  any  ability  will   have  little 
difficulty  getting  people  to   sing  songs   of 
patriotism  and   sentiment,    for  no  matter 
where  they  come   from,    people  like  to  sing. 

The  difficulty  arises    -  the  leader. 
Fear,    lack  of  confidence,    ability  and   know- 
ledge,   prevent  many  a  person   from  standing 
in   front   of  his    fellows   and   directing  them, 
even  though  he  may  have  the  desire  to   do 
so.      These  may  all   be  overcome  with  a  lit- 
tle patience  and   diligent   practice. 

REQUISITES     FOR     LEADERSHIP 


The   leader  must    be  an  enthusiast.      He 
must   be  able  to   oniile  and  to   create  an  at- 
moophere  of   cheer  and  set    people  at   ease, 
and  raise  an  occasional   party  laugh.      The 
magnetism  of   his   personality  must  make 
people    forget  to  v/onder  \?.^hether  anyone  is 
listening,    forget  their  sliyness   and  make 
folks   sing  who   have  not   raised  their  voic- 
es   in  song   for  years. 

There  is   no   royal  road  to   this   result, 
and  no   one  particular  way  to   do   it.      Exper- 
ienced song  leaders,   who   know  crowds   and 
how  to   deal  with  them,    use  diffei-ent  meth- 
ods and  tactics  with  different   groups.      In 

-  4   - 


fact,    it    sometimes  becomes   necessary  to 
handle  the  same  crowd   in  a  different  manner 
and  use  other  methods   at   different  times. 
The  point   of  the  whole  matter  is  that  the 
leader,    somehow,    using  a.ll  of   his  technique, 
ability  and  training,    and  the   force  of  his 
personality,   must   loosen  the   crowd,    break 
down  the  barrier  of   formality,   make  them 
forget   themselves,    and  to   enter  whole-heart- 
edly into   the   "Sing. " 

Bartholomew,    in  his    "Iviusic   for   Every- 
body",   says: 

"The  song  leader   has  two   responsibil- 
ities:   (l)  To   keep  the  singers  together  and 
help  them  to   interpret  the  song  properly; 
( 2 )  To    enthuse  the  singers   so   that 
they  will  be  eager  to   do  their  best." 

The   firot  task  is  one  that  may  be  mas- 
tered by  study  and  practice.      Anyone,    if  he 
follow  the  suggestions    given  here,   will   be 
able  to  master  the  technical   difficulties. 
Having  acquired  that   technical   ability,    and 
the  knov/ledge  of  how  to   beat   time,    and  what 
to   do  with  his   hands,    any  leader  can  keep  a 
group  of  singers  together  in  correct  time 
and  interpretation. 

A  song  leader  must   possess   a  strong 
sense  of  rhythm  and  be  able  to    feel  the 
different  measures  and  accents.      He  must   be 
able  to   get    his   arras   and  hands   into  motion 
and   indicate  in  a  clear  manner   by  the  prop- 
er  use  and  movement   of  his   arras,    just   how 
fast  or  slow  the  song  is   to   be  sung,    and 
how  he  wants   it  to   go .     ' 

The  second   is   not   quite  so   easily  mas- 
tered,   for  this   requires  that    "something" 

-  5   - 


that   will  make  a  person  want  to   sing  in 
spite  of  himself.      There  are  some  yell   ~ 
leaders  who   can  make  a  crowd  do   anything, 
while  another  yell   leader,    perhaps    just  as 
efficient,    can  get    no  response   from  that 
same   crowd.      That   is    called   "personality". 

If  the  leader  is   sure  of  himself, 
knows  what  to   do  with  his   hands,    has   his 
technique  well  in  hand,    and   does   not    for- 
get  to   smile   (for  that    is  the  song  lead- 
er's most  valuable  asset),    the  chances   are 
that   he  has   enough  personality  to    "break 
the  ice"  and  get  the  group  singing. 

TECHNIQUE     OF     SONG     LEADING 


BODY  POSITION.     The  position  of  the  body 
and  the  way  a  leader  stands   as   he   faces 
the  audience,    has  much  to  do  with  the  suc- 
cess  of  song  leading.      The   head   should  be 
up,    chest   up,    and  shoulders   back.      An  at- 
titude of  life  and  vigor  on  the   part   of 
the  leader  will  react  upon  the  audience. 
Stand    firmly  upon  both   feet,    "i  the 
right    foot  a  step  in   front   of  the  left. 
Throw  the  weight   upon  both   feet,    and  the 
body  muscles    firm. 

FOOT   POSITION.      The  right    foot   should  be  a 
step  in  front  of  the  left,    and  at  right  . 
angles.      The  weight  of  the  body  should  be 
upon  both   feet   and  the  muscles    firm.   While 
the  leader  should   not   relax  in  his   posit- 
ion,   still   he  must   have  a  certain  loose- 
nessaat  the  knees  which  will   enable   him 
to   bend  them  slightly  to   bring  out   the 
rhytlr-jii.      Any   exaggerated  movement   of  the 
-  6   - 


body  should   be  discouraged,    but    at   the 
same  time  the  leader  must    feel   the  rhythm 
from  his    feet  up. 

ARIC  MOVUvISNTS .        It   is   necessary   for  the 
song  leader  to   use  a   full   arm  movement 
from  the  shoulder.      These  movements   should 
be  well  away   from  the  body,    so  that  they 
may  be   easily    followed  and  understood,    and 
seen   from  a  distance.      Little,    stiff, jerky 
motions    from  the  wrist   or   elbov/  do  not   en- 
courage the  average  audience  to   sing. 

RIGHT  AND  LEFT  HMDS.      Leading  and  direct- 
ing is   a  language  of  signs.      The  song 
leader  must   learn  to  talk  with  his   hands. 
All  motions   should  be  clearly  made  and 
easily  understood  by  the  singers.     Wild 
and  meaningless  waving  of  the  arras   is   not 
good  directing  and  confuses   those  who  are 
being  directed.      Proper  use  of  the  arms 
and  hands   is  o f  utmost   importance.      There 
are  certain  movements    for  the  beating  of 
time  that   must   be  mastered.      These  must   be 
practised  until  they  become  a   fixed   habit, 
or  automatic. 

The  right  hand  is  the  time -beating 
hand,  and  marks  the  regular  beat  of  the 
measure-  That  is  why  the  leader  of  the 
band  or  orchestra  or  chorus  holds  the  baton 
in  this  hand.  The  left  hand  is  used  to 
give  special  accents , holds ,  indicate  ex- 
pression and   interpretation. 

It   is  therefore  necessary   in  community 
song  leading  to   be  as    free  in  the  use  of 
the  left   hand  as  tne  right.      In  practising 
the  movements   suggested   in  this  manual, 

-  7    - 


train  "both  arrr.s  ,    first   oeparately,   then  to- 
gether,   until  the  habit  becomes    fixed. 

BEATITIG  TniE.      The   first   beat   of  the  meas- 
ure,   in  any  kind  of  time,    is  the  important 
beat.     This    first   beat,    no  matter  whether 
2,    3,    4,    6,    9  or  12  beats   in  a  measure,    is 
the  accented  beat,    and  is  always  DOWN.     The 
dov;n  bea.t   of  the  measure  must   be  accurate, 
vigorous,    clear  and  distinct,    like  the 
driving  of  a  nail. 

The  last  beat   of  the  measure,    nd  mat- 
ter what  time  the  song  is  written  in,    is 
the  weak  beat,    and  must  always   be  UP.     Be 
sure  of  your   first  and  last   beats,   and  the 
other  beats  will  take  care  of  themselves. 

ESGINNING  ON  LAST  BEAT.     When  a  song  begins 
on  the  last   beat   of  the  measure  it  will  be 
necessary  to  begin  with  a  decided  upward 
motion  or   "scoop"  in  order  to   have  a  good 
start.      "America"  begins  on  the   "down"   beat; 
"Star  Spangled  Banner"  on  the  "up"  beat, 
calling   for  a  big  upward  motion. 

2/4  or   2/2  TBiE  OR  MEASURE.      In  beating  two 

beats   to  the  measure   (the  simplest  rhythm 

in  music),    the  general   direction  is,    DOWN, 

UP.      One  or  DOWN  is   about   on  a  level  with 

the  elbow  and  out    from  the  body.     Two   or  UP 

brings  the  hand  v/ell  up  to  the  head,    but 

does   not  pass   in   front   of  the   face.      Keep 

the  wrist    loose  and   flexible  so  that   as 

"One"  is  reached,   you  may  be  able  to  give 

a  little  motion  as  though  tapping  a  school 

teacher's   bell.      This  might  be  called  the 

"tap  beat." 

^  -  8   - 


A  few  examples   of  songs   in  2/4  time 
are  the   following;      "Our  Eoys   Will   Shine"; 
"Old  Zip  Coon";    "Dixie",    "Yankee  Doodle"; 
"Pack  Up  Your  Troubles";    "Jingle  Bells"; 
"In  The  Gloaming";    "Long  Trail". 

3/4,    3/2  or    3/8  MEASURE.      The   general   dir- 
ection  for  three  beats   in  a  measure  is 
DOWN   -   first    beat;    OUT    -  second   beat,   UP   - 
third  beat,   making  a  triangle.      Any  other 
way  of  beating  three  to  a  measure  is  in- 
correct-     ONE  is   in    front   of  the  body  and 
about   on  the  level  with  the   elbow;   TNO   is 
away    from  the  body  and  to  the  side,    still 
on  the  level   with  the  elbow,   THREE  is   up 
to  the  head. 

Again  use  the   "Tap  Beat"    for  ONE  and 
TWO,   making  a  little  "loop"  after  TWO  and 
leading  to   THREE.      Alv/ays   remember  that 
the  important   beat   is  the  ONE  or  WW  beat; 
give  it   a  good,    strong  accent. 

Examples   of  songs   in   3/4  measure  are; 
"Star   Spangled  Banner";    "America";    "Love's 
Old   Sweet    Song"    (Chorus);    "The  Climate"; 
"Sweet    Genevieve";    "My  Bonnie";    "Santa 
Lucia". 

4/4,    4/2  or   4/8,    or   CQMv.ON  MEASURE.     The 
general   direction  for   four  beats  in  a 
measure  is   DOW   -   first   beat;    IN   -  second 
beat,   OUT   -  third  beat,   UP  .-   fourth  beat. 
In  making  beats    "one",    "two"   and    "three", 
have  in  mind  an  imaginary   keyboard  at   the 
waistline^   and  keep  these  beats  on  a 
straight   line. 

Here  again  the  importance  of  the  DOWN 
beat  must   be  remembered.      Use  a  "tap  beat" 
-  9    - 


for   "one",    "two"  and   "three",   with  a  lit- 
tle "loop"  after   "three"  and  leading  to 
"four". 

Examples  of  songs  in  4/4  measure  are: 
"Columbia,   the  Gem  of  the  Ocean";    "itoerica 
the  Beautiful";    "Tramp,   Tramp,    Tramp"; 
"The  Laraeillaise";    "Old  Folks  at  Home"; 
"Annie  Laurie";    "Aloha  Oe";    "Auld  Lang 
Syne";    "Tenting  Tonight";    "Battle  Hymn  of 
the  Republic";    "Long,   Long  Ago". 

6/8  MEASURE.     This   is  the  hardest   kind  of 
measure  to   beat,    and  may  be  directed  in 
two   different  ways. 

A  study  of  the  chart    for   6/8  measure 
will  show  that   beats    "two"  and   "three"  of 
the  right  hand,    follow  those  of  the  left, 
before  crossing  over   for   "four".      Beats 
"four"  and   "five""continue  with  a  little 
"loop"  after   "five"  and  leading  to    "six". 
In  moving   from  one  position  to  another  the 
wrist   is    flexible  to   allow  the   "tap  beat" 
for  each  movement . 

This   is  the  kind  of  movement  to  use 
for  such  slow  6/8  measure  songs   as  the 
following  examples:      "Believe  Me  If  All 
Those  Endearing  Young  Charms";    "Drink  To 
Me  Only  With  Thine  Eyes",    "Silent  Night" - 
In   fast   6/8  measure  songs  the  beat- 
ing i3>-.exactly  the  same  as  in  2/4  measure, 
-  "DOWN   -  UP".      Examples   of  this   kind  of 
6/8  measure  are  the   following:    "For  He's 
a  Jolly  Good  Fellow";    "Merry  Life";    "Sail- 
ing";   "Yankee-Doodle -OOdle";    "Nancy  Lee"; 
"When  Johnny   Comes  Marching  Home". 

9/8  and   12/8  MEASURE.      The   few  songs  writ- 
ten in  this  measure  may  be  considered  as 
-  10   - 


3-beat    songs   and  4-beat    songs.      9/3   is    Com- 
pound Triple  Ivleasure  and  is   conducted  on 
the  same   general  plan  as    3/4.      12/8   is   Com- 
pound Quadruple  Measure  and   is    conducted 
like   4/4. 

An  example  of  12/8  measure  is    "The 
Soldiers'    Chorus",    from   "Faust". 

In  addition  to  time -beating  there  are 
a   fev;  additional  movements    for  the  song 
leader. 

1.  POSITION. 

The  position  assumed  by  the  leader 
has   a  great   deal  to   do  with  gaining  the 
attention  of  the  audience  or   group.      It   is 
absolutely  necessary  to  secure  this  atten- 
tion to   get  results    from  the  start.      In 
order  to    focus  the  attention  upon  him,   the 
l&ader  assumes  this   attitude: 

Right    foot    forward,   one  step,    at 
right   angles   with  the  left;   weight   of  the 
body  on  the   forward    foot;    chest   out;   both 
hands   held  up  high;   the  whole  body  expres- 
sing alertness   and  vigor. 

This   is   called   "Position",    and   cor- 
responds to  the  officer's   command   "Atten- 
tion." 

2.  HOLDS. 

There  are  notes   in  every   song  to   bo 
held  tv/o,    thi'ee  or    four  rhytl'imic  beats. 
The  leader  must   signal    just    how  long 
these  tones   are  to   be  sustained.      It   is 
the  leader's   left   hand  that   indicates   such 
holds,   v;hile  the  right    hand   continues  to 
beat  time   for  the  accompaniment.      This   is 
-  11    - 


needed  in  such  passages  as   in  "Old   Folks 
at    Home",    on  the   end  of  the  phrase   just 
preceding  the   cxiorus ;    in  "America",    on  the 
word    "sing"  of  the  phrase   "Of  Thee  I  Sing", 
where  there  is   danger  of  breathing  in  too 
soon. 

There  is   another   kind  of   "hold"  which 
needs  a  signal    from  the  leader  in  order 
that  the  crowd  may  be  kept  together.     When 
there  is  a  place  in  the  song  calling  for    - 
an  unrhythmic  or   indefinite  sustaining 
tone,   that   is   indicated  to   singers  and  ac- 
companiment  by  a  posture  very  similar  to 
"Position".      Both  hands  up,    right    foot 
forward,   weight  on  right    foot,   the  entire 
body  expressing  the  word   "hold".      This   is 
a  very  clear  signal  to  all,   that  the  tone 
is  to  be  sustained  until  another  signal 
to  stop  is   given. 

3.      "STOP". 

After  an  indefinite  hold,    or  at  the 
close  of  the  phrase  or  song,  there  must 
be  a  signal  to   indicate  that   all   sound 
cease.     The  best   movement  to  indicate 
this   is   a  quick  dovmward  movement   of  both 
arras,    bringing  them  together  on  the  chest. 
This  tells  very  definitely  that   the  leader 
desires  silence  until  he  resumes  the  beat. 


-  12   - 


MOVMENT   FOR  FOUR  BEATS  IN  A  L^EASURE 

4 


One' 


•  "T<...~  »• 


Two 


'Three" 


"Four" 


LIOVEL^ENT   FOR  SIX  BEATS   IN  A  MEASURE 


^ 


~V^ 


54  3213214  5 


•One* 


'Two 


"Three" 


"Four" 


"Five" 


'Six' 


move3i:ent  for  two  beats  in  a  measure 

2 


/f>^ 


•One' 


lirn,..^  II 


Two 


movemeinTt  for  three  beats  in  a  measure 


1  1 


•One' 


"Two' 


"Three" 


"HOLD" 


"STOP" 


"HOLD" 


ACCOMPANIST . 

So  much  depends   upon  the  accorapaniment 
that   a  T7ord  nust   be  said   in  this   connection, 

Blessed  is   that   leader  who   has  an  ac- 
companist   of  adequate  technique  and  reading 
ability,    and  doubly  blessed  if  that   accom- 
panist  is   able  to    follow  his  beat.      But 
tlirice  blessed  if  that   accompanist    in  ad- 
dition to   his   knowledge  of  the   classics 
also   knows   our  standard  patriotic  and   folk 
songs , 

The  most  important  item  is  that  of 
perfect   sympathy  and  understanding  between 
leader  and  accompaniat .      Here  there  must 
be  a   fine  example  of  team-work.      All  plane 
should  be  complete,   the  program,    songs, 
music,    key  and  tempo,    should  be  clearly 
understood  before  appearing  before  the 
audience.      After  the  leader  is   once  on  the 
platform,    avoid  all    conversation  and  con- 
fusion.    '>!\rhen  the  song  is   announced  the 
proper   introduction  should   be  played  and 
the  song  started  immediately. 

STAF.TING  A  SONG:    COmANDS. 

The  attack,   the    first   note,    the  first 
word   in  a  song  must   be  a  united  one.      For 
that   purpose  a  signal   or  command  is   neces- 
sary in  beginning  a  song.      Some  leaders 
count    a  measure  aloud    for  the  singers.    Eut 
for  the  average   group,    a  connnand  must   also 
be  an  invitation,    and  at   the  same  time  set 
the  tempo  of  the  song.      The  value  of  the 
command  must   not  be  overlooked. 

All   comniands   should  be  given  in  a 
clear  voice,    sounding  the   first  tone  of 
the  song,    if  necessary,    and   in  perfect 
rhythm.     This   v/ill    establish  the  tempo  and 

-  19    - 


pitch  of  the  song.  The  leader  who  has  no 
accompanist  will  find  much  use  for  such  a 
command . 

The  examples   of  such  commands   are  the 
following : 

"Ready,    Sing"    -   for  a  xwo-word  or  two- 
beat  measure; 

"Every   -  Body   -  Sing"    for  a  three - 
word  or  three  beat  measure; 

"Ready,    Every,    Body,    Sing"    -   for  a 
four  word  or   four  beat  measure. 

PUll  out  the  measure  with  one  of 
these  comniands  to  suit  the  number  of  beats 
in  the  song,   so  that  the  word   "sing"  -^i^dll 
come  immediately  before  the   first   note. 
"Sing"  corresponds  to  the  officer's   com- 
mand  "IViarch". 

INTRODUCTIONS . 

Seme  leaders  prefer   just  a  chord   from 
the  accompanist,   or  a  measure  or  two    for  a 
short   prelude,    just    enough     to   establish 
the  pitch.      The  most   satisfactory  intro- 
duction,   at   least   generally  accepted  as 
best,    includes  the  last    four  measures,    or 
the  last   phrase  of  the  song  or  chorus. 
This  leads   immediately  into  the  song  with- 
out the  loss  of  a  single  beat,    or  a  break 
in  the  rhythm. 

When  the  accompanist  reaches  the  next 
to  the  last  measure  of  the  introduction, 
the  leader  assumes  the  posture  of  "Posit- 
ion."    Simultaneously  with  the  last  note 
of  the  introduction  the   first  word  of  the 
command   is   given. 

For   example,    "America",   the  intro- 
duction would  be  the  last    four  measures. 
-  20   - 


("From  every  mountain  side,   Let    freedom 
ring")     On  the  word   "Let",    aosiimf^   "Posit- 
ion"-     And  on  the  word   "ring",   the  command, 
"Every,    Body,    Sing'"    -  tliree  vvord   coaLiand  is 
given.      ThiG    fil3s   up  the  last   measure  of 
the  irrtrn  due  lion,,    and   swings   into  the    lirct 
verse  v/ixhout   losing  a  b.^at .      The  last   word 
of  the  command   "Sing"  immediately  precedes 
the   first  word  "My". 


HOW    TO     LEAD     OUR     PATRIOTIC     STANDARD 
AND     FOLK     SONGS 


"STAR  SP/^IGLED  BANNER" 

There  has  been  much  discussion  re- 
garding the  range  of  our   national  anthem. 
Some  have  suggested  lowering  the  pitch  to 
the  key  of   A  or   Ab.      For  the  ordinary 
CTQCid.  of  adults   the  original   key    -  Bb   - 
is  the  practical   key.      There  are  but   a   few 
high  tones,    and  the  average  audience  can 
be  led  to  reach  than. 

Introduction  is  the  last    four  meas- 
ures  and  cne  beat    -   (C  or  the  land  of  the 
free  and  the  home  of  the  brave). 

Assujne   "Position"  on   first   note  of 
next  to   last  measure.      On  last   note  of  in- 
troduction  -   (brave)   start  two-word   com- 
mand   "Ready,    SING". 

Begin  on  third  or  up  beat. 

After  the  words    "gleaming"  and 

"streaming",    a  short   break,    about   a  half 

beat.      The  words    "red   glare"  and   "in  air" 

are  alike.      Ritard  and   bring  out   the 

-  21    - 


phrase   "that   our    flag  was   still  there." 
A  hold  and  a   "Stop"   after   "wave";   also   a 
hold  on   "free".      The  words    "and  the"   are 
Bb  and   C   (do    -  rej.      The  second  stanza  is 
usually  omitted   for  obvious   reasons. 

"MSRICA" 

The  standard  key  is   G.      Introduction 
last    four  meaoures.      Assume   "Position"   on 
first   note  of  next  to   last   r.;oaaure,   and   - 
on  last   note  of  Introduction   ("ring") 
start  three-word   coinrnand,    "Every,    Body, 
Sing."     Hold  the  word   "Sing"  three  boats. 
The  next  to  the  last  measure  has  two 
eighth  notes    for  the   first   beat. 

The   first   half  of  the  last   stanza  ie 
the  "prayer";   sing  it  softly.      Indicate 
to  the  singers   by  smaller  movements.      On 
the  words,    "Long  may  our  land",    come  out 
with  a  big  climax;   use  big  movements. 
Beat  three  to  each  measure.      Begins  on 
mm  beat. 

"COLUIvmiA,    THE  GEM  OF  THE  OCEAN" 

Key  of  Ab.  Introduction  last  four 
measures  and  one  beat.  Assume  "Position" 
on  first  notes  of  next  to  last  rueaoure, 
and  last  note  of  introduction  ("blue") 
start  three-word  command,  "Every,  Body, 
SING."  Begin  on  four  or  UP  beat.  Beat 
four  to   each  measure. 

"AMERICA,    THE  BEAUTIFLJT." 

^      One  of  the   finest  of  our   patriotic 
songs.      Standard  key   is   C.      Introduction 
-  22   - 


laet  four  measures  and  one  beat.  Assume 
"Fosicion"  on  first  note  of  noxt  to  last 
measure-  On  last  note  of  Introduction 
start  three-v'ord  cormr.and,  "Every,  Body, 
SING."  Eegin  on  lour  or  ip  beat.  Bring 
out  the  words,  "America,  America".  Eeat 
four  to    each  measure. 

"BATTLE  HYIvIN  OF  THE  REPUBLIC" 

K«y  of  Bb,      Four  beats  to   each  meae- 
ure-      Introduction  last    four  measures. 
Assume   "Position"  on   first   note  of  next 
to   last  measure.      On  last   note  of  intro- 
duction start    four-vvord  comiwand,    "Ready, 
Every,    Body,    SING".      The   first  word    "iviine" 
must   be  sung  very  quickly;   a  snappy  UP 
beat   is  necessary. 

All  verses   are   good,    but   always   sing 
verses  one  and  three.     Make  the  chorus 
big  and  triumphant.      As   a  special   effect, 
ha.ve  the   first    "Glory  hallelujah"  sung 
softly,    the  second  time,    louder,    and  the 
third  time,    very  loud,    with  a  climax  on 
the  words    "His   truth  is  marching  on." 

' 'TRAIViP.    TRAIviP.    TRAf^P" 

Key  of  Bb,   and    "Zattle   Cry  of   Free- 
dom",  Key  of  Ab,    are  two   inspiring  pat- 
riotic songs,    full  of  rhythm  and  melody. 

The  text   is   appropriate   for  today. 
The  introductions,    commands   and   beating 
are  the  same  as   in   "Colurubia,    the  Gem  of 
the  Ocean"   and    "America  the  Beautiful". 

-  23    - 


"DIXIE" 

Key  of  C.      Ib   always   a   favorite. 
This   rollicking  tune   has   a  new  set   of  ap- 
propriate words    "The  U.S.A.    For  Ever". 

Introduction  last    four  measures   and 
one  half  beat.      Assuiue   "Position"  on   first 
note  of  next  to  last   measure.      On  last   note 
of  introduction  start   comruand   "Ready,    SING" 

The    first  word   "I"   is   sung  quickly 
and  demands   a  rapid     up  beat  -      Beat  two  to 
each  measure. 

"TENTING  TONIGHT" 

Key  of  Bb;  presents  a  picture  of  the 
moot  pathetic  side  of  war;  is  regarded  as 
a  splendid   peace  song  today. 

Introduction  last   four  measures. 
Command  and  beating,    same  as    "America  the 
Beautiful." 

"ALL  THROUGH  THE  NIGHT" 

Is  a  type  of  the  early  folk-song  and 
originated  in  Salem.     Key  of  Ab. 

Beat    four  to   each  measure.      Introduc- 
tion last    four  measures.      Assume   "Position" 
on  next  to   last   measure.      On  last    note  of 
introduction  start    four  word   command    - 
"Ready,    Every,    Body,    SING".      Begins   on  DOWN 
beat. 

-  24   - 


"AULD  LAljG  SYNE" 

Is   best   sung  v;ith   four  beats   in  a 
measure  and   in  the  key  of  F. 

Introduction  last    four  measures  and 
one  beat.      Assume   "Position"  on  next  to 
last  measure.      On  last   note  of  introduc- 
tion start   three  v/oi'd   command   "Every,    Body, 
SING".      Begins   on  UP  beat. 

"BELIEVE  ME.    IF  ALL  THOSE  ENDEARIN.G_ YOUNG 
CHAEkS" 

A  melody  of  charm  and  appeal.      Key  of 
Sb,    and   six  beats  to    each  measure. 

Introduction  last    four  measures   and 
one  beat.      Assume   "Position"  on  next   to 
last  measure.      Command,    "xleady,    SING". 
Begins  on  UP  beat. 

"MNIE  LAURIE" 

An  ever-popular     Scotch  song.-    Key  of 
C.      Beat    four  to   each  measure,      introduc- 
tion last    four  measures   and  one  beat.      As- 
sume  "Position"  on  next  to   last  measure, 
starting   command  on  last   note   -   "Every, 
Body,    SING".      Begins   on  UP  beat. 

' 'DRINK  TO  1:E  only  WITH  THINE  EYES" 

A  melody  of  the  Elizabethan  period. 
Key  of  Eb,    six  beats   to    each  measure. 
Introduction  last    four  meaeuren.      Assume 
"Position"   on  next  to   last  measure,    on 
-  25    - 


last   note  give  command   "Every,    Body,    SING". 
Begins  on  the  DO^iTO  beat. 

"PLQ^  GENTLY  SWEET  AFTON" 

A  well   known  tune  applied  to   Burns' 
poem.      Key  of  A;    beat  three  to    each  meas- 
ure.     Introduction  last    four  measures  and 
one  beat.      Assume   "Position"  on  next   to 
last  measure,    and  last  note  give  command   - 
"Ready,    SING".      Begins   on  UP  beat. 

"GOOD-BYE,   MY  LOVER>    GQQD-BYE" 

Is   a  popular  song  of  a  decade  ago. 
Key  of  G,   6/8  time.      Beat  two   beats  to 
each  measure. 

The   first   six  measures  of  the  chorus 
are  in  4/4  time;    beat    four  beats  to  these 
measures.     The  last  two  measures  of  the 
chorus   return  to   6/& ;   beat  two  beats. 
Ritard  last  two  measures.      Introduction 
last   two  measures   and  one  beat .      Assume 
"Position"  immediately.      Start   command  on 
last    note   -   "Ready,    SING".      A  quick  UP 
beat    for  the   first  word   "The". 

"JU ANITA" 

Of  Spanish  origin;   best   sung  in  key 
of  Eb.      Beat  three  beats  to   each  measure. 
Introduction  last    four  measures.      Assume 
command  next  to   last  meaaiire;    on  last   note 
start   command,    "Every,    Body,    SING".      Begins 
on  DOWN  beat. 

-  26    - 


"LASSA'S  IN  THE  COLD.  COLD  GROUND" 

Key  of  D.      Eeat    four  to    each  measure. 
Introduction  last    four  measures.      Assume 
"Position"   next  to  last  measure,    and  on 
last   note  start   command,    "Ready,    Every, 
Body,    SING".      Begins  on  DOTi^  beat - 

Hold  the  note  in  the  eighth  measure 
four    full  beats.      To   be  sure  that   the  sing- 
ers  do   net   break  in  ahead  of  time,    say 
aloud  the  words,    "Saiiie  tune"  on  beats 
three  and    four.     The  measure  would  be  thus: 
"One,    T'TO,    Sairie,    Tune".      This  will   prevent 
any  singer    from   jumping  into  the   chorus. 

"IwY  EONNIS" 

A  fine  community  song.      Written  in  Eb, 
and  in   3/4  measure. 

Because  of  the  tempo,   which  should  be 
fast  to    get   good  results,    it  will   be  wise 
to   beat   one  beat  to    each  measure.      The 
second  and  the   fourth  measure  of  the   chorus 
are  the  saiue,    -  Bb.    "iSDLD"  on  the  last 
"Ering  back"  of  the   chorus. 

Introduction  last    eight  measures - 
Assume   "Eo?ition  next   to   last  measure. 
Command,    "Ready,    SING".      Quick  UP  beat    for 
first   word    "ivly". 

"l]Y  OLD  KENTUCKY  HOLE" 

Key  of   G.      Shout    aloud    "Same  tune"   in 
the   eighth  measure  to   prevent   singers    from 

-  27    - 


breaking  ahead.      This  will  indicate  the 
repeat  of  the  music.      Beat    four  beats  to 
each  measure-      Introduction  laot    four 
meaoures.      AeeuLie   "Pooition"  on  next  to 
lant  measure.      On  last   note  start   command 
"Ready,   Every.    Body,    SING".      A  quick  UP 
beat    for  the   first  v/ord  "The." 

"OLD  BLACK  JOE" 

Is  always   a   favorite.      Co no id er able 
freedom  io   allowed   in  the   chorus.      A  spec- 
ial  effect  may  be  obtained  by  having  cert- 
ain groups   echo   in  the  chorus. 

Key  of  D,   written  in  4/4  measure. 
The  best    results  will   be  secured  by  beat- 
ing eight  beats  to   each  measure,   or  divid- 
ing each  measure  into  two   parts,    four  beats 
each. 

Introduction  last   two  measures   and  one 
half  beat.      Assume  "Position"  on  next   to 
last  measure,    on  last   note  start   command   - 
"Ready,   Every,    Body,    SING".      Begins  on  DOM 
beat  of  the  measure. 

"OPP^IOLKS  AT  HOME" 

Is   the  correct  title   -  not    "Swannee 
River".      The  best   key  is   D,    and    four  beats 
to   each  measure.      The  tendency  in  the 
eighth  measure  will   be  to    go   on  to   the 
chorus.      Saying  aloud,    "SAT^xE  TUNE"  will 
make  the  singers   repeat,    and  not   go  on  to 
the   chorus,    as   in  other  southern  melodies . 
Introduction  last    four  measures.      Assume     ' 
-  28    - 


"Position"  on  next   to  last  measure.      On 
last   note  start    command    "Heady,    E\^ery, 
tody,    SING".      Begins   on  DOWN  beat. 

"SALTTA  LUCIA" 

(Lu-che-a).      Best   sung  in  Key  of  C, 
and  tiiree  beats  to   each  measure. 

Introduction  last    four  measures. 
Assume  "Position"  on  next  to  last  measure, 
and  start   coinmand  on  last   note   -   "Every, 
Body,    SING".      Begins  on  DOWl-l  beat. 

"LOVE'S  OLD  SWEET  SONG" 

Contains  the  great  element  to  make  a 
good  comraunity  song  -  expression,  feeling 
of  kindliness   and  brotherhood. 

Written  in  the  key  of   F,    the  verse 
with  four  beats  to   each  measure  and  the 
chorus  v/ith  three.     The  HOLDS  throughout 
the  song  need   careful   directing.      The  in- 
troduction should  be  the   first    four  meas- 
ures,  but  v/herever  possible  use  the  intro- 
duction that   belongs  to  the  song. 

Assume   "Position  on  next   to   last 
measure,    and  on  last   note  start    comi-iand    - 
"Ready,    Every,    Body,    SING".      Begins  on 
DOV/N  beat. 

"WHEN  YOU  AND   I  WSP-E  YOUNG" 

A  song  that   never    fails   to   gain  a 
great   response  among  the  adults.      Written 
-  29    - 


in  the  key  of  F,   and   four  beats  to  each 
measure. -   Introduction  last    four  measures 
and  one  beat. 

Assume   "Position"  on  next  to  last  meas- 
ure,  and  on  last   note  start   conanand   -  "Every, 
Body,    SING".     Begins  on  UP  beat. 


Copyright   1922  by  John  Henry  Lyor 

52574 


University  of  California 

SOUTHERN  REGIONAL  LIBRARY  FACILITY 

405  Hilgard  Avenue,  Los  Angeles,  CA  90024-1388 

Return  this  material  to  the  library 

from  which  it  was  borrowed. 


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